5 Minute Dialogue Script

[Ilona Brownson]

RobertShaw is probably the main reason for Jaws being one of my favourite films of all time, mainly of course for a scene that is three and half minutes of near-perfection. Shaw steals the scene effortlessly, aided by a few whiskeys of course, but here in 2013 most films have ten minutes without any dialogue at all, so the famous Indianapolis scene of rich dialogue without a cut is quite special and yet tragic to think that Robert Shaw died of a heart attack only 3 years after this magnificent performance as Quint.

Realistically , a vet might easily get a date wrong especially given the story and the time in the movie, and who was gonna tell Quint he got the date wrong , without Quint grabbing one of them

bats.

I watched a docu. about Jaws. They said he added to the original script & he was dog-drunk the night of the 1st(who know how many takes) but went to Speilburg 1st thing the next morning, begging for another chance. He nailed it!

This is the best. This scene has inspired me to read all I find about WW2. I purchased a book about the Indianapolis but had not read it. After many, many times in which I watched this movie, it clicked in my brain. I started looking through my books &, there it was. I began reading tube book. I could not imagine what those men went through but they did. Mr Shaw is an excellent actor & I am so thankful he did such a wonderful job portraying this part.

Just watched jaws for the hundredth time and I sit and wait in anticipation for that masterpiece monologue. Top 5 of all time. Maybe #1. Movies and monologues like these are the reasons for my movie obsession. Well written sir

Then the subject somehow gets to Quint and his background. He mentions the Indianapolis and all the levity drains from the scene instantly. Hooper recognizes the circumstances, but the chief has no clue. That sets the scene for the soliloquy just magnificently.

It is the best monologue ever and Robert Shaw is so incredible. Even nearly 40 years later still enjoy watching this scene, and knowing that it is a part of our history makes me so proud of our veterans.

I know what it's like to write a screenplay and want to be finished. There are many times I sit and wonder how many pages I have left? The simple answer to that question is, "Enough to tell the story," but it's more complicated than that.

As a former assistant, I can tell you that I hated reading scripts over 110 pages. But wait, how many pages is a 2-hour movie script? Well, it COULD be 120... it could also be 160... more on that later.

The answer to this question comes from the esteemed John August. He explains in a blog that when you get to a professional level, the Script Supervisor is the person who estimates how long each page actually will be in screen time.

There's a famous story that when Aaron Sorkin turned in The Social Network no one wanted to make it because it was 160+ pages. But he and Fincher had other ideas. They audio-recorded Sorkin reading the script and timed it.

The Social Network screenplay thrust social media and the future of online friendships into the spotlight. It netted Aaron Sorkin an Academy Award and became one of the most successful movies of the year. So what can we learn from how it looks on the page?

Here's where I'm at right now in the journey because it changes, right? I mean, I'm an old man now and I've been doing this thing for a minute and it keeps evolving. Evolving, and I keep learning and I keep growing. I hope I do until I'm bones. But I think that at the moment, the thing that intrigues and fascinates me the most is probably the boring answer. Maybe it's not boring, but it's the very heady answer of I have so many perplexing questions about this life at this moment. I thought at 49 I would've really figured stuff out. I really thought I would understand why I get so depressed, why I get so anxious over little weird things. Why is it so hard sometimes to wake up in the morning? Why am I so afraid of the things that I'm afraid of? And I think that through the lens of this genre, which is unfortunately, it's not that it can't be fun, right?

Fun can happen and you could still wrestle with and explore those questions. Right now, I'm just at this place where I'm staring at the universe around me being like, God, this doesn't get easier. And then when you go through a story where you have an incredible new iconic monster or entity or event, whatever it may be, nature horror, serial killer horror, supernatural Horror, slasher gore fest. To me, that's the thing that when someone sends me a project or we're starting to develop an idea with the company that I am running right now or I'm trying to create something, that's the thing that hooks me, gets me, gets me going. It gets me really revved up about the thought of jumping in on something and giving that energy to it.

Angel Melanson: The cycle has come back around and it's time for the stuff that I really, really champion and enjoy. And also to piggyback on that, I love to see just diverse characters like queer characters, and characters of color, and it has nothing to do with the story. They just happen to be there because they just exist in normal spaces. And I would like to see a little more of that. I feel like we're slowly getting there, but we need more of that.

Peter Kuplowsky: I feel like when Jordan Peel's Get Out came, it was great, but I also think that Hollywood learned the wrong lesson, which was like, oh, we all have to make these Get Out-style movies that have to be movies about that are very much with that discourse at the top of mind.

Akela Cooper: Yeah, it was like every time I would go out to pitch something that just happened to have a black lead being in a horror movie, the execs would politely listen to my pitch and they would go, but what is this saying? And I would be like, if this situation fucking sucks and is terrifying, they're like, no, no, on a deeper level, what is it saying? And they would be like them staring at me, me staring at them, and I'm like, I'm going to make you white executives say it. But yeah, it was always like, what is it saying about the black community is like, this fucking situation is terrifying. But yeah, no, it was push that any horror film that I had to do had to say something. And I hope that what clout I have from Malignant and Megan will help me in the future get those movies off the ground now.

David Dastmalchian: Right. I guess I'm yearning to see it. I love fantasy horror. I love good science fiction horror, but I'm a lifelong comic collector and I've collected horror comics for most of my life. But I do love the intersection between superhero mythologies and horror. And I'd like to see that explored more. It has been done and there are people doing it. I think that's really exciting. And I just think there's something about the way we're intersecting with technology, which you've done in a really cool way, but what I'm yearning for right now is the way we experience it. I feel like we're all on the brink of something. I don't know what it is. I don't know if it's VR, I want a new experience for my horror and I think about this a lot. What does that look and feel like? Do we get William Castle on their asses? Is it just bringing in some kind of live element to the theatrical experience? Is that possible? Is there a way legally and financially to pull that off?

Well then how do you know how long your script really is? Get some actors together and do a reading of it. Or, better yet, stage an actual production of it. Taking it off the page and onto the stage or screen is really the best way to know how each individual show translates into pages per minute.

(adsbygoogle = window.adsbygoogle []).push();

The problem is that saving a PNG image in Krita triggers the PNG Image / Export dialog every time, which can get tiresome in the workflow which requires saving sometimes multiple times per minute to check the changes in the 3D model in Blender.

Thanks for sharing your workaround for bypassing the PNG Image/Export dialog in Krita! Workflow efficiency is key, especially when switching between Blender and Krita frequently. Streamlining the process with scripts can save a lot of time and hassle.

Speaking of optimization, you can also try to compress image files for faster saving and sharing. Tools like this can help you reduce file sizes without compromising quality. This can be particularly useful when dealing with multiple iterations of image editing and saving throughout your workflow.

To measure the effectiveness of the rule I looked at the ratio of pages to minutes. A 50-page script which becomes a 100-minute movie would have a ratio of 0.5, a 100-script and 100-minute movie would have a ratio of 1 and a 100-page script which created a 50-minute movie would have a ratio of 2.

Last year I conducted a large research project into over 10,000 feature film screenplays submitted to script competitions and to professional script readers. Using that data we can get a sense of how each genre differs.

The chart below shows the percentage of scripts which were taken up by dialogue. There are some similarities to the chart above (i.e. Action and Comedy being on the opposite end of the spectrum) and some differences (i.e. drama and horror place very differently between charts).

The chart below shows what I discovered, namely that pages and minutes were less correlated in these scenes that within the complete dataset of all scripts. I have added an orange line to indicate where one-page-per-minute would be, revealing that two-thirds of the scenes had a ratio of over 1.

Crucially, the standard deviation (a measure of how different a set of numbers are from each other) among the scenes was 0.41 whereas for all scripts taken together it was just 0.20. This reveals a couple of important things about our rule:

This analysis was done on feature films, but every TV show faces similar issues. However, long-running shows have the advantage of knowing how their specific show works. My hunch is that every NCIS script falls in a narrow range of scenes and pages because they know what they need.

3a8082e126